Commissioned by Iranian Film Magazine in early December, 2017. — J.R.
It might be argued that domestic melodramas are often based on contrivances. This is true of both Asghar Farhadi’s The Salesman (2016) and Mohammed Hamzei and Ehsan Biglari’s Azar (2017), two of the better Iranian domestic melodramas that I’ve seen in recent years. But the different ways in which these films handle their contrivances is instructive.
Farhadi — whom I tend to regard as the Elia Kazan of Iranian cinema, for better and for worse, typically generating more heat than light in his most popular works, as Kazan did in On the Waterfront and East of Eden — is more conventionally skillful with his Big Scenes than the team of Biglari (writer) and Hamzei (director) are with theirs. This is because Farhadi knows how to disguise his contrivances so that they don’t seem contrived at all, but dramatically inevitable, such as the sexual impropriety that spurs most of the action in The Salesman as well as the various dramatic confrontations that result from this.
By contrast, the Big Scenes in Azar tend to be awkwardly unconvincing (notably, the accidental death of Saber from a brief scuffle with his cousin Amir arising from a financial dispute), or played down (the uncle of Amir smashing windows in his nephew’s pizzeria with his fist), or else omitted entirely (the pivotal meeting between Amir and his uncle in prison).… Read more »